×
You will be redirected back to your article in seconds

‘Adele’ Kicks off Cannes’ European Film Week in Buenos Aires

Thierry Fremaux hosts highly-popular film season

BUENOS AIRES – In May, much of the world goes to Cannes. Outside May, Cannes goes to much of the world.

Exhibit A: One of the most established of Cannes’ increasingly far-flung initiatives: Ventana Sur’s 5th European Film Week in Buenos Aires, which bows Tuesday at the Argentine’s capital’s central Gaumont Cinema with a likely SRO screening of Cannes 2013 Palme d’Or winner “Adele: Chapters 1 & 2.”.

“Adele” director Abdellatif Kechiche, co-lead Adele Exarchopoulos and fellow cast Jeremie Laheurte and Mona Walravens will attend to present “Adele,” which has a second outing for the general public next Saturday.

Unspooling Dec 3-10, the European Film Week also highlights Un Certain Regard hit “Miele,” the feature directorial deb of Italian actress Valeria Golino (“Rain Man,” “Hot Shots”) which was produced by actor Ricardo Scarmarcio for Buena Onda and RAI Cinema, the film arm of the Italian broadcaster.

The euthanasia-themed “Miele” stars Jasmine Trinca as a punkish lost-soul angel of death administering fatal drugs to the terminally ill, for wads of cash.

Three Cannes competition standouts – Paolo Sorrentino’s “The Great Beauty,” an ode to Rome’s grandeur and decadence; “Borgman,” Alex van Warmerdam’s genre-grafting social satire/home invasion thriller; “Young & Beautiful,” François Ozon’s exploration of the physical transformations of youth –  also make the cut.

A hugely ambitious – and for most critics exhilarating –  three-hour narrative arc of a love relationship which help shape a life, “Adele” looks like one highlight of the Film Week, indeed of Ventana Sur.

Targeting families with animation and youth audiences with its action fare, Hollywood dominates Latin American box office far more than Europe’s. North American movies market share customarily runs well North of 80% in Argentina. European movies are lucky to reach 5%. The highest-grossing European film in Argentina this year was “The Impossible,” ranking No. 37th with a $2.0 million gross for indie distributor Alfa.

Select auteurs, often Cannes-endorsed, such as the Dardenne brothers who received a rock-star reception at the Film Week two years back, can still, however, make an impact in Argentina. Showcasing five premieres for Argentina, the European Film Week is an attempt to leverage Cannes imprimatur, plus the pizzazz of Fremaux and a director’s presence, aiding distributors as they open some of this year’s most talked about art movies there to have more films beyond Hollywood blockbusters draw crowds in a fast-growing Latin American market.

To that extent, it’s Cannes brand extension, but for the immediate benefit of third parties.

More Film

  • Aladdin

    China Box Office: 'Aladdin' Opens on Top With $19 Million Weekend

    Disney’s “Aladdin” opened on top of the Chinese box office with a less than magical $18.7 million debut weekend. According to data from Artisan Gateway, the film beat previous chart winner “Detective Pikachu” which earned $7.5 million in its third weekend. That score advances the cumulative China total for “Pikachu” to $83.3 million. The Guy [...]

  • 'Nina Wu' Review: Stylish, Glitchy, Provocative

    Cannes Film Review: 'Nina Wu'

    “They don’t just want to take my body, they want to take my soul!” So runs the overripe line of dialogue that actress Nina Wu (Wu Kexi) has to repeat again and again in “Nina Wu,” the fascinating, glitchy, stylish, and troublesome new film from Taiwanese director Midi Z (“The Road to Mandalay”). Nina practices [...]

  • 'All About Yves" Review: Feeble French

    Cannes Film Review: 'All About Yves'

    Benoit Forgeard’s dorky “All About Yves,” bizarrely chosen as the closing film of 2019’s Directors’ Fortnight selection in Cannes, is literally about an intelligent refrigerator that ascends to Eurovision fame as a rapper. Imagine Spike Jonze’s “Her” played for the cheapest of laughs, shorn of atmosphere, and absent all melancholic insight into our relationship with [...]

  • 'The Bare Necessity' Review: Offbeat, Charming

    Cannes Film Review: 'The Bare Necessity'

    A perfectly charmant way to, as the song has it, forget about your worries and your strife for 100 airy minutes, writer-director Erwan le Duc’s “The Bare Necessity” is a breezy little sweetheart of a debut, that threatens to give the rather ominous description “quirky French romantic comedy” a good name. In its dappled countryside [...]

  • Adam

    Cannes Film Review: 'Adam'

    With her debut feature “Adam,” Maryam Touzani allows her audience to sit back and relax comfortably into a beautifully made, character-driven little gem that knows when and how to touch all the right buttons. Taking the stories of two women, both frozen in existential stasis, and bringing them together in a predictable yet deeply satisfying [...]

  • 'To Live to Sing' Review: A

    Cannes Film Review: 'To Live to Sing'

    After his taut, impressive debut “Old Stone” which tracked with nightmarish relentlessness the high cost of compassion in modern urban China, Canadian-Chinese director Johnny Ma loosens his grip a little to deliver a softer, if not necessarily less pessimistic examination of the failing fortunes of a regional Sichuan Opera troupe. “To Live to Sing” is [...]

  • Hugh Jackman Sings Happy Birthday to

    Hugh Jackman Leads Massive One-Man Show Crowd in 'Happy Birthday' for Ian McKellen

    Hugh Jackman may have had to skip Ian McKellen’s birthday party to perform his one-man show, “The Man, The Music, The Show,” but that didn’t mean he couldn’t celebrate his “X-Men” co-star’s 80th. Jackman took a moment at the Manchester Arena Saturday to lead the sold-out audience — some 50,000 strong — in a rendition [...]

More From Our Brands

Access exclusive content